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  • Home | Robert Kipniss Studio | New York

    Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. ​The Robert Kipniss studio is resource for the artwork and literature from the artist's longstanding career. ​ Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. Robert Kipniss Studio is a resource for the artwork and literature from the artist's longstanding career. ABOUT Learn more ARTWORKS View selected works EXHIBITIONS View selected exhibitions RESOURCES View books, collections, essays, and interviews

  • Drypoints & Etchings | Robert Kipniss Studio | New York

    Kipniss's first print and only etching was made in 1967. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other mediums. "Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints." < DRYPOINTS & ETCHINGS Untitled 2020, drypoint, 9.875 x 8 inches. Not editioned. A small copse in a field 2016, drypoint, 6.5 x 7.875 inches. Edition of 16. Untitled 014 1992 (Grace 29), soft-ground etching; key plate impression in black (the edition was printed in three colors from three plates), 6.875 x 7.875 inches. Edition of 75. Pages from a sketchbook #2 2003 (Grace 126), drypoint - printed from two plates w/ chine collé, 9.875 x 8 inches. Edition of 60. Pages from a sketchbook #4 2003, drypoint, 9.375 x 6.875 inches. Edition of 50. Trees 2003 (Grace 128), drypoint, 2 x 2 inches. Edition of 20. Hilltop 1996 (Grace 62), drypoint, 6.875 x 7.5 inches. Edition of 30. Morning, Springfield OR Sunday, Springfield 1992 (Grace 40), drypoint, 6.875 x 7.375 inches. Edition of 50. Near Lancaster 1992 (Grace 39), drypoint, 6.75 x 7.375 inches. Edition of 50. Springfield, O 1991 (Grace 31), drypoint - printed from two plates, Fifth and final state, 1 impression pulled from each previous state, 12.75 x 10.875 inches. Edition of 60. Self-portrait, second state 1969, reprinted 2019 (Lunde 15), drypoint, 10.75 x 9.825 inches. Edition of 17 (1969), and 16 (2019). Pale trees 1968 (Lunde 3), drypoint, 8.25 x 11.75 inches. Edition of 30. View more Kipniss's first print, an etching, was made in 1967 at Pratt Graphics Center. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other mediums. Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints. Springfield, O . (1991) shows the typical velvety black lines of the drypoint, caused when ink adheres to the raised burr next to the furrow, but Kipniss's lines are placed more tightly than is usual in drypoints. The work is in three institutional collections, including the British Museum, London. After a long hiatus from drypoint, Kipniss has returned to the medium in his later years. Since 2016, he has completed several atmospheric compositions in the medium, working with Anthony Kirk Editions.

  • Books | Robert Kipniss: A Working Artist's Life

    In this candid memoir, Kipniss recounts the ups and downs of his early career, the failures and successes of gallery exhibitions and gaining recognition, and the joys and struggles of trying to support a family as an artist, all while tenaciously developing his unique style of landscape painting. < Back to all books Robert Kipniss: A Working Artist's Life Hardcover: consult Bookfinder for availability Published by the University Press of New England, 2011 In this candid memoir, Kipniss recounts the ups and downs of his early career, the failures and successes of gallery exhibitions and gaining recognition, and the joys and struggles of trying to support a family as an artist, all while tenaciously developing his unique style of landscape painting. "Poetry and painting were equal passions of mine until I turned thirty and became a father, and I had to earn more money. Getting an evening job meant making a choice, and I stayed with painting, shelving my writing as something I would return to later, perhaps when I was much older," he wrote in the introduction. Decades later he began writing down memories, and when he was fifty-two, he wrote twenty-eight chapters of something he thought might eventually become a memoir. Writing on a typewriter was laborious and discouraging, and he ended up putting the pages aside except for essays about working as an artist for gallery catalogs. After he bought a computer and rewriting became easier, he took up the memoir again. When he neared the ending, he recalls: "I was startled and pleased to see that instead of a random collection of episodes, I saw my life emerging as a whole. I found a consistency and coherence that was as much a function of personality, instinct, and my compulsion to create as it was of conscious thought. It was a perspective impossible to have until I had lived almost eighty years." "Writing about my life has been a little like reliving it, but with the advantage of seeing the unfolding problems and troubles in the context of their eventual resolution. I found this second visit a good thing, even with its many uncomfortable moments, and it has left me at peace, my enthusiasm undiminished." E-book: Brandeis University Press Reviews Sidney Offit "I was enlightened, entertained, and frequently moved by this portrait of the artist composed with a touch of the poet." — Sidney Offit, author of Memoir of the Bookie's Son ; Curator Emeritus, George Polk Journalism Awards; and president, Author’s Guild Association Avis Berman "Like his paintings, Kipniss's prose is clear and evocative, and readers will enjoy following his adventures as he fences against the follies and venality of the art world." — Avis Berman, art historian and author of Rebels on Eighth Street E. John Bullard "Few great painters are great writers, but Kipniss is an exception. In his sensitive and personal memoir, we discover his passionate struggle to achieve his artistic goals, balancing the obligations of his personal life with the great demands of his art." — E. John Bullard, Director Emeritus, New Orleans Museum of Art William A. Kinnison "This is a rare treat. A working artist reviews his life with the same skill with words that he has with brush and stylus." — William A. Kinnison, President Emeritus, Wittenberg University Richard J. Boyle "Robert Kipniss has fashioned a memoir of clarity, sensitivity and insight. Anyone seriously interested in art and the lives of artists, but especially in the mysterious and always fascinating connection between an artist's life and his work, would find this book both enlightening and enjoyable."-- Richard J. Boyle, art historian, former director, Pennsylvania Academy of the Fine Arts Carol Ascher "Kipniss is an engagingly unpretentious and often humorous raconteur, with pitch-perfect dialogue and a wonderful eye for the telling detail. It's a pleasure to ride along with Kipniss on his candid, well-paced, and witty romp through the New York art world and his life in art." — Carol Ascher, author of Afterimages: A Family Memoir

  • Lithographs | Robert Kipniss Studio | New York

    From 1968 to 1994, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. < LITHOGRAPHS Hillside w/ porch & moon 1994, color lithograph, 6 x 5.125 inches. Edition unknown. Roadside, Elsah 1990, color lithograph, 12.5 x 15 inches. Edition of 90. Road to Middleburg 1988, color lithograph, 13 x 11.375 inches. Edition of 120. Revisitation, afternoon 1987, color lithograph, 11 x 15 inches. Edition of 150. Green, Green 1987, color lithograph, 16 x 12 inches. Edition of 120. Streets & alleys, afternoon 1987, color lithograph, 11 x 12.75 inches. Edition of 120. As the rain ends 1987, color lithograph, 10 x 16 inches. Edition of 120. The Blue Stove 1987, color lithograph, 17.5 x 14 inches. Edition of 120. City, dusk 1987, color lithograph, 6.5 x 5 inches. Edition of 150. The Artist’s Bedroom 1986, color lithograph, 12 x 10 inches. Edition of 120. August 1986, color lithograph, 8 x 9 inches. Edition of 120. Invitations 1986, color lithograph, 15.75 x 17 inches. Edition of 120. Small Porch & Clouds 1986, color lithograph, 13.25 x 11 inches. Edition of 120. Poised 1986, color lithograph, 11 x 15 inches. Edition of 120. Just before the sun 1985, color lithograph, 12 x 11 inches. Edition of 120. Suspension II 1985, color lithograph, 10 x 13.5 inches. Edition of 120. Splash 1984, color lithograph, 6.5 x 5 inches. Edition of 175. Ohio moment 1984, color lithograph, 11 x 14.5 inches. Edition of 175. Window sitting 1983, color lithograph, 10.5 x 14 inches. Edition of 120. Souvenirs 1982, color lithograph, 13.5 x 10 inches. Edition of 200. The Other Room 1981 (Lundgren 232-SL), color lithograph, 13.5 x 9 inches. Edition of 150. Small Hilltop 1981 (Lundgren 241-SL), color lithograph, 10 x 13.5 inches. Edition of 120. Remembering 1981 (Lundgren231-SL), color lithograph, 22 x 28 inches. Edition of 120. Just beyond 1980 (Lundgren 216-SL), color lithograph, 14 x 16.75 inches. Edition of 275. Dark Fields 1980, (Lundgren228-SL), lithograph, 4 x 3 inches. Edition of 250. View more "In lithography my great excitement came from effects I can best describe as silvery, like ghosts of gray, grays faint yet fully drawn, with nuances that gave the appearance of images have been just breathed onto the stone, and from there with Burr [Miller]’s magic coaxed to the paper…When printing went smoothly the experience was deeply rewarding, a sense of well-being at having brought to life a vision that could have gone wrong in so many ways, at so many moments. These times were like gifts from an unpredictable printing god, and were the events that made painful failures endurable. It was essential to know my goals could be reachable." - Robert Kipniss, 2002 From 1968 to 1994, Kipniss created lithographs that followed the style and content of his paintings, whether generally or specifically. A commission from a print publisher in 1968 for five editions of lithographs precipitated his adoption of lithography as a medium. Kipniss's first lithographs were done in black and white, but by 1970 he was also working in color. He taught himself "to lay in the most delicately light silvery tones on the surface of the limestone by maintaining an exceptionally sharp point on the lithographic pencil and drawing with no pressure other than the weight of the pencil itself." He built up a support so that his hand and wrist could "dangle" over the stone. By 1994 Kipniss had completed about 450 editions of lithographs, usually of 90 to 250 impressions, at the Burr Miller studio in Manhattan. He worked from 1969 with master printer Burr Miller and then with Steve and Terry, his sons. In 1980 Kipniss began to draw on aluminum to make all of his lithographs, and by 1986 he was achieving an increased subtlety in the use of color with a light palette including "greens, blues, pinks, browns, and grays," as a critic noted that year. He added: "Kipniss enhances the remarkable purity and elegance of line in these lithographs by his restrained use of color. The delicate hues of his prints are of such extraordinary subtlety that it is only on careful examination that the viewer can recognize how complex they are, requiring as many as eight different plates to produce a single print." In 1994 Kipniss's concern with densely drawn fine tones led to increased difficulties in printing, and he gave up the medium.

  • Books | Robert Kipniss: Paintings and Poetry, 1950-1964

    This intriguing monograph of painter and printmaker Robert Kipniss is an intimate look at a memorable period in his life and career. Thoughtful and articulate from conception to completion, the artist's never-before-published poems are choreographed with his early paintings in this contemplation of the influential and foundational years from 1950 to 1964. Robert Kipniss: Paintings and Poetry, 1950 - 1964 Available from the publisher Monograph with paintings and poetry by the artist Preface by Robert Kipniss Introduction by Marshall N. Price, National Academy of Art Essay by Robin Magowan, Poet Published by The Artist Book Foundation, New York and North Adams, Massachusetts, 2013 This intriguing monograph of painter and printmaker Robert Kipniss is an intimate look at a memorable period in his life and career. Thoughtful and articulate from conception to completion, the artist's never-before-published poems are choreographed with his early paintings in this contemplation of the influential and foundational years from 1950 to 1964. Kipniss's own thoughts on this period of his career are accompanied by insightful essays by Marshall N. Price, curator of modern and contemporary art at the National Academy Museum, New York; and Robin Magowan, an award-winning poet based in Santa Fe. Preview Book < Back to all books

  • Collections | Robert Kipniss Studio | New York

    Robert Kipniss has artwork in major collections including the Syracuse University Art Museum, the Fort Wayne Museum of Art, and the Allentown Art Museum to name a few. COLLECTIONS MAJOR REPOSITORIES Smithsonian Archives of American Art View Details Washington, DC Wittenberg University Library View Details Springfield, Ohio Syracuse University Art Museum View Details Syracuse, New York Fort Wayne Museum of Art View Details Fort Wayne, Indiana Allentown Art Museum View Details Allentown, Pennsylvania The British Museum View Details London, England The Metropolitan Museum of Art View Details New York, New York The Heckscher Museum of Art View Details Huntington, New York SELECTED ADDITIONAL PUBLIC COLLECTIONS A - F Achenbach Foundation for Graphic Arts, The Fine Arts Museums of San Francisco Albertina Museum, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York The Art Institute of Chicago, Chicago, Illinois Ashmolean Museum, Oxford Bates College Museum of Art, Lewiston, Maine Bibliothèque nationale de France, Paris The Boston Athenaeum, Boston, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine Brooklyn Museum of Art, Brooklyn, New York The Butler Institute of American Art, Youngstown, Ohio Canton Art Institute, Canton, Ohio Carnegie Museum of Art, Pittsburgh, Pennsylvania The Century Association, New York, New York Chazen Museum of Art, University of Wisconsin-Madison, Wisconsin The Cleveland Museum of Art, Cleveland, Ohio Columbus Museum of Art, Columbus, Ohio De Cordova Museum and Sculpture Park, Lincoln, Massachusetts Cornell Fine Arts Museum, Winter Park, Florida Davis Gallery, Hobart and William Smith Colleges, Geneva, New York The Denver Art Museum, Denver, Colorado The Detroit Institute of Arts, Detroit, Michigan Everson Museum of Art, Syracuse, New York Federal Reserve Board Fine Arts Program, Washington, D.C. Fitzwilliam Museum, University of Cambridge, Cambridge, England Frederick R. Weisman Art Museum, University of Minnesota, Minneapolis G - M Gibbes Museum of Art, Charleston, South Carolina Harvard University Art Museums, Cambridge, Massachusetts The Heckscher Museum of Art, Huntington, New York The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York Hofstra University Museum, Hempstead, New York Indianapolis Museum of Art, Indianapolis, Indiana Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia Library of Congress, Washington, D.C. Los Angeles County Museum of Art, Los Angeles, California Maier Museum of Art, Randolph College, Lynchburg, Virginia McNay Art Museum, San Antonio, Texas Minnesota Museum of American Art, Saint Paul, Minnesota Mint Museum of Art, Charlotte, North Carolina The Mississippi Museum of Art, Jackson, Michigan The Morgan Library & Museum, New York, New York Munson-Williams-Proctor Arts Institute, Utica, New York Museo de Arte Moderno La Tertulia, Cali, Colombia Museum of Art, Rhode Island School of Design, Providence, Rhode Island Museum of Art, Rhode Island School of Design, Providence Museum of Fine Arts, Boston, Massachusetts The Museum of Fine Arts, Houston, Texas N - Z National Academy of Design, New York, New York The Nelson-Atkins Museum of Art, Kansas City, Missouri The New Britain Museum of American Art, New Britain, Connecticut New Orleans Museum of Art, New Orleans, Louisiana The New York Public Library, Print Collection, New York, New York Philadelphia Museum of Art, Philadelphia, Pennsylvania Pinakothek der Moderne, Staatliche Graphische Sammlung, Munich Springfield Art Museum, Springfield, Missouri Springfield Museum of Art, Springfield, Ohio Victoria and Albert Museum, London Virginia Museum of Fine Arts, Richmond, Virginia The Whitney Museum of American Art, New York, New York Wichita Falls Museum and Art Center, Wichita Falls, Texas Yale University Art Gallery, New Haven, Connecticut

  • Paintings | Robert Kipniss Studio | New York

    Kipniss's early work consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures. The majority of these works were landscapes of subdued color, often with few details, and loosely brushed. Large Trees at Dusk (1962) was one of several paintings and drawings in 1961 and 1962 which introduced a boldness of form and a more pronounced moodiness. < PAINTINGS Nine Trees 2018, oil on panel, 18 x 24 inches. A Celebration of Morning 2007, oil on canvas, 40 x 48 inches. Afternoon with Black and Gray trees 2005, oil on canvas, 30 x 40 inches. Vase & Leaves IV 2005, oil on canvas, 20.25 x 22 inches. Poised 2005, oil on panel, 14 x 12 inches. Testament 2005, oil on canvas, 28 x 32 inches. On Point 2004, oil on canvas, 36 x 25 inches. Intervention 2004, oil on canvas, 25 x 36 inches. Silver Morning II 2004, oil on canvas 22 x 28 inches. The Stage 2004, oil on canvas, 22 x 28 inches. Green, Green 2004, oil on canvas, 32 x 22 inches. Lace II 2003, oil on paper, 24 x 20 inches. Splash III 2003, oil on canvas, 28 x 22 inches. Evening Figures 2002, oil on canvas, 29.25 x 40 inches. Crossings 2002, oil on canvas, 24 x 18 inches. Hillside Illusions II 2001, oil on canvas, 32 x 22 inches. Shelter 2001, oil on canvas, 32 x 22 inches. Forest Interior 2001, oil on canvas, 40 x 29 inches. Trees and Shadows 2001, oil on canvas, 32 x 28 inches. Still Life with Curtains and Tree 2001, oil on panel, 24 x 16 inches. Silver Morning 2000, oil on canvas, 36 x 40 inches. Looking Through IV 2000, oil on canvas, 40 x 32.25 inches. Mist 1999, oil on canvas, 20 x 24 inches. Interior with Leaves 1999, oil on canvas, 24 x 24 inches. The Artist's Studio 1999, oil on canvas, 48 x 40 inches. View more Kipniss's early work consisted of abstractions, biomorphic forms, landscapes, cityscapes, still lifes, and figures. The majority of these works were landscapes of subdued color, often with few details, and loosely brushed. Large Trees at Dusk (1962) was one of several paintings and drawings in 1961 and 1962 which introduced a boldness of form and a more pronounced moodiness. The paintings and prints that followed, executed either in black and white or in color, include numerous variations in the shape, size, and placement of trees. Large Trees at Dusk exhibits the beginning of Kipniss's purification of tree forms, his use of closely related hues in a subdued or dark range, and the sense of solitude characteristic of his mature output. Of the paintings and prints since 1962, hundreds show the interplay of tree trunks, focusing on close or more distance views. In a review of the artist’s 1966 solo painting show at The Contemporaries, Time magazine wrote: "In the twilight zone between recollection and imagination, a New York painter has found a vista of mind and mood that he calls ‘the Inner Landscape.’ With hushed tones, feathered brushing and eerie chiaroscuro, he invests his scenes with the appearance of reality and the ambiance of dream." (“Art in New York,” Time, Feb 4, 1966: E2) Kipniss’s paintings in the late 1960s often exhibit vibrant, jewel-like undertones that lend pulsing energy to the composition and his rugged brushwork. In the 1970s and 1980s, Kipniss developed his mature style, composing his forms and spaces separately, working on each alternately after the paint has dried. He brushes between them and recomposes each area more than once, sometimes with five or six passes in order to get "the varied parts of the image to mesh together.” Continuing his exploration of landscape and its relationship to human experience, his brushwork began to be more refined. His palette also morphed to warm ochres, brick reds, and deep green earth tones. He often composed detailed studies of residential settings at the edges of open, undeveloped areas, seen at a distance. Fences and outbuildings often punctuate the scene. In the 1990s and early 2000s, Kipniss frequently turned to interior scenes, and his style once again shifted. His compositions of this period are atmospheric and moody, depicted in a palette of dark, cool colors. Forms are stylized, lacking detail, and there is an intense focus on the effects of light and shadow. The scene is set as within a domestic structure, with the landscape showing just beyond, through a window. Elements of the natural world are juxtaposed with plants and arrangements of flora as viewed from indoors; the two realms seem to meld in compositions such as Clear vase & landscape (1995) and Interior w/ leaves (1999). In Kipniss’s late phase, from 2000 to 2018, he returned to landscape, favoring a hazy pastel palette. Splash III (2003) and A celebration of morning (2007) are examples of Kipniss's paintings of this period which center trees extending into grassy landscapes, often in different effects of light. These paintings display his use of closely related tones, a strong accent on the purity of form, refined silhouetting, and pronounced luminosity.

  • Essays | Style and Isolation | Robert Kipniss | New York

    It is not my wish to translate visual expression into words. This is about the actual making of the work. The intricacy of this image presented me with a persistent obstacle and an irresistible allure. Difficulties in bringing the drawing from paper to copper included physical and conceptual challenges. < Back to all essays Style and Isolation 2003 Kipniss discusses how he developed his mature style in relation to his youthful admiration of major painters of the late nineteenth century and his studies at The Art Students League and The University of Iowa, concluding, “The mistakes of my youth have led me to an interesting and rewarding maturity.” Downloadable PDF Self-portrait: Petersburg, Virginia (1957) oil on canvas, 24 x 24 in., Collection of The National Academy Museum, New York.

  • Essays | Regard | Robert Kipniss | New York

    In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964. Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. < Back to all essays Regard 1959 / 2011 In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964 . Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. Downloadable PDF Springfield, O. III (2005), oil on canvas, 20 x 22 inches, exhibited in “Recent Paintings by Robert Kipniss” at the New Orleans Museum of Art, March 4 – May 14, 2006.

  • Books | Robert Kipniss Studio | New York

    View and purchase books by and about Robert Kipniss. BOOKS Paintings & Poetry, 1950 - 1964 Overview and Details Available from the publisher Intaglios, 1982 - 2004 Overview and Details Consult Bookfinder for availability Paintings, 1950 - 2005 Overview and Details Consult Bookfinder for availability A Working Artist's Life Overview and Details Consult Bookfinder for availability Seen in Solitude Overview and Details Consult Bookfinder for availability The Graphic Work Overview and Details Consult Bookfinder for availability

  • Essays | Lifetime Achievement | Robert Kipniss | New York

    Upon his acceptance of a lifetime achievement award from the Society of American Graphic Artists, Kipniss discusses his journey as a printmaker: first in etching, then lithography, and finally in mezzotint. He concludes with the observation that other printmakers are one of the finest aspects of practicing this art, due to the camaraderie they share. < Back to all essays Lifetime Achievement Award Address, SAGA 2007 Upon his acceptance of a lifetime achievement award from the Society of American Graphic Artists, Kipniss discusses his journey as a printmaker: first in etching, then lithography, and finally in mezzotint. He concludes with the observation that other printmakers are one of the finest aspects of practicing this art, due to the camaraderie they share. Downloadable PDF Robert Kipniss and Burr Miller at George C. Miller & Son, Lithographers, 20 W. 22nd Street, New York, New York, 1976

  • Contact | Robert Kipniss Studio | New York

    Contact the Artist's representative - Sarah Kirk Hanley is an independent curator, critic, and expert appraiser based in the greater New York City area, specializing in contemporary prints, multiples, and illustrated/artists' books. She has been a contributor to Art in Print and Art21 Magazine and served in leadership positions at the Manhattan Graphics Center, Christie's, and the Milwaukee Art Museum. Mailing Address: P.O. Box 1067 Sharon, Connecticut 06069 Director of Operations Isaiah Rivera info@robertkipnissstudio.com +1 917 887 0576 Email Isaiah Philip Allen began his art career in Chicago in 1989. In 1993 he began exhibiting the artwork of Robert Kipniss at the Hexton Gallery in New York City, which led to four sold out, one man shows. From 1999 to 2006, Allen was managing director of the Weinstein Gallery in San Francisco, where he hosted multiple solo Kipniss exhibitions, created significant catalogues, and participated in several major publications about the artist's prints, paintings, and drawings. In that period of time and afterward, Weinstein Gallery sold many millions of dollars of Kipniss's work. Director of Sales Philip Allen philip@robertkipnissstudio.com Sarah Kirk Hanley is an independent critic, curator, appraiser, and consulting expert for fine art prints, editions, and illustrated artists’ books. In addition to her work for Robert Kipniss, she serves as an expert consultant for several art appraisal and advisory firms in New York. She is also a member of the board of directors for The Atelier 17 Project, which encourages new research about this avant-garde printmaking workshop upon its 2027 centennial, and the advisory board for the Center for the Preservation of Artists’ Legacies (CPAL). She is a frequent guest lecturer and speaker in her area of expertise for seminars, professional associations, colleges, and museums. She has published numerous scholarly articles and essays on Contemporary printmaking. Ms. Hanley is a member of ArtTable, the Association of Print Scholars, the Appraisers Association of America, the Catalogue Raisonné Scholars Association, and Phi Beta Kappa. Ms. Hanley holds an MA in Museum Education from the University of the Arts, Philadelphia, and a BFA in Printmaking and Fine Art from the University of Iowa, magna cum laude. Artist Representative and Curator Sarah Kirk Hanley sarah@robertkipnissstudio.com +1 203.507.8127

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